No humans were harmed during the making of this film
There is currently a lot of hub-bub and hoop-lah about James Cameron’s Avatar, an extraordinarily expensive sci-fi movie which arrived in theatres about two and a half weeks ago. Since the initial trailer was released, people have been ‘freaking out’ over the visuals, the alien world of Pandora itself, and most sadly, the implied politics wrapped up in the films narrative. I say implied because 1) the script makes no mention of any political party or affiliation, 2) the story takes place on a different planet, and 3) it’s a movie — you can’t vote it into office. Seriously, if you think that by purchasing a movie ticket you are giving a mandate to the creators of the film, then watch out — depending on who you listen to, you may be simultaneously condemning the Bush-era, undercutting the American economy and re-electing Obama in 2012, just by attending. But chillax people, it’s a film worth bringing your nephews and grandmothers to, not pitchforks and torches.
For those who have not seen the trailers, here’s a quick breakdown of the plot: ENRON survived, and they have spaceships. They send people to Endor, where instead of finding Ewoks they discover big blue cat-people with bows and arrows. This quickly turns into a PR nightmare. They need to mine rocks in the area but the indigenous folks keep killing them, so they bring in some scientists to study the land, commune with the natives, and make things go smoother. To facilitate communication between the scientists and the natives, Enron grows giant blue cat-people (“host bodies”) for humans to mentally inhabit, allowing them to walk amongst the natives (!!!).
Trouble is, the natives think the scientists are weird, and don’t like hanging out with them (they suck at bows and arrows). Fate intervenes, and along comes a former marine. He is good at bows and arrows, and the natives choose to hang out with him some. Then John Wayne gets involved. John Wayne is awesome — he’s tough, he’s direct, and he ‘takes care of his own’. He’s job is to take care of security for the Enron employees, and so naturally he convinces the marine to feed him intel on the natives, suspecting he’ll eventually need to use it against them. The marine is suddenly living in two very different worlds, and the one he chooses to stay in will alter the fate of… the Universe!
But get this; John Wayne is the bad guy. Later, he gets an arrow shot through his chest and two aliens make out on top of his corpse. No really.
Whether or not films are a product of our culture, or our culture is driven by the social messages represented in our films is hotly debated (by me I guess). But even though it takes place on a distant planet with a lot of giant blue cat-people, the plot of Avatar bears a striking resemblance to Earthly events of the last 500 years or so. Specifically; the birth of the United States. Really specifically; unpopular stuff that white people did to everybody else they encountered (honestly, if you identify yourself as Caucasian, check this movie out to see how Muslims feel when they watch True Lies, James Cameron’s film before Titanic).
This creeping familiarity is there because the overall storyline is pretty hammy and unoriginal, but about 20 minutes in you’re not going to give a crap about all that. You’ll be ‘ooh’ing and ‘ahh’ing all over the place. You’ll cheer for the good guys, even when they’re slaughtering what look like US infantry troops. You’ll likely get misty eyed a few times. And for Chrissakes, when was the last time you clapped at the end of a movie? Long story short; the film does have a message, and it goes something like this; we’re boned. Mankind is inevitably doomed to put the needs of our species above the needs of the planet, and that’s eventually going to ruin a lot of what we like about this place (trees). But there’s hope that it will end with Earth — that we won’t turn into Darth Vader’s Empire, drunkenly planet-hopping in search of better stuff. And if we do, maybe somebody will stop us. See, the film is about hope, just not for any of us.
Which righteously pisses off a lot of people. But if you hold the belief that humanity can do no wrong in its quest for survival, you’re not likely to be swayed by big blue cat-people. And if you just don’t like that the Democrats picked up the ‘green’ football before the Republicans did, then it’s okay to stay home, bide your time and then secretly rent Avatar when it comes out on DVD (as if it’s porn or something). In any event, check it out, because in spite of it’s story and dialogue, Avatar is a stunning film worth everyone’s attention.
12 comments
Michael's Friend Cheryl
wow, thats an altogether thoughtful and non-biased article…for a fascist.
Thank you Cheryl;your upgrading me from a ‘vacuous troglodyte’ to a mere ‘fascist’ is both thoughtfull and kind.
You’ll be happy to know that alternate titles for the article included ‘A white man’s fevered guilt fantasy’, and ‘Those cat-people should check out WebMD, because blue skin is often a sign of choking’.
Anon
The real lesson of Avatar is that if the humans won and destroyed the cat people’s villages and moved them onto reservations so we could mine their land, we would eventually honor them by dressing up as cat-people mascots at football and basketball games, thereby making up for 500 years of cultural annihilation.
Penn State does that.
Fern Gully
Here my take on Avatar 2; the ‘company’ comes back, and damnit they’ve grown an army of avatar’s. So BAM! You’ve got a Na’vi civil war of sorts on your hands. Also; lazers.
ron ton ton
“A white man’s fevered guilt fantasy” was a MUCH better title. But then, that would’ve been a <a href=“http://io9.com/5422666/when-will-white-people-stop-making-movies-like-avatar”>better review</a>.
Nah. I like my review more then the one linked above. I think the weakness of the ‘white people need to see white people saving the world for everyone else’ argument is that both in reality and in narratives like Avatar, technology, not race, represents the real advantage that humans / white folks have over the indiginous groups. Anytime an argument hinges on ‘well you know what they’re really talking about’, I get kinda suspicious.
Also, it’s yet another theory that puts white people in the ‘decider’ role (only as the source of the problem instead of the source of the solution). This is not to say that James Cameron didn’t create a pretty silly and formuliac plot; rather my argument is why get worked up over it? The answer is; you’re projecting your politics onto a movie, and whether you’re a democratic or a republican, that means you’re kind of missing the point (to have fun).
Just saw this with a group of dudes. Also, there were several children sitting in my general vacinity. I felt this pressing urge to intervene and have a post-movie discussion with parents of the children, on how to process the gratuitous nipple shots and vague portrayal of blue-cat-people coitus. The little girl next to me, probably not even 7 years old, excliamed, “How romantic!“ during the mating scene. She kept repeating, “We have now mated for life” over and over, that is, until she started crying during the destruction of that tree thing and kept sobbing very loudly until the movie ended. Since I love nothing more than unnecessary computer-generated sex scenes (in 3D!), besides maybe confused and sobbing children, I’d give my overall movie-going experience 2 thumbs up!
Pat
Well, Michael, I like the article a lot, but saying that it’s a movie informed by white guilt is not projecting our personal politics, it’s an analyzation of the form of the film. I understand that “projecting personal politics” can happen in analyses—like saying that Harry Potter is evil or The Hurt Locker is pro-war—but your argument would seem to be that these films cannot be analyzed from a politically-informed perspective, simply because their primary function might be to entertain us.
While you may be right about Avatar‘s basic purpose—to move, thrill, entertain, etc—even the notion of “entertaining” has political implications. What serves to move and entertain a large group of (often presum-edly white) spectators is political in and of itself: it is making a statement about what is fodder for entertainment and what narratives we find most pleasurable, a statement that can be revealing about popular culture and politics.
So there.
Pat
Oh and not to mention the other political aspect of every film, which is related to the last: these films are made either by artists or by a committee of artists and execs, real-life people who do not live in a socio-cultural vacuum (I would argue that even living in such a vacuum gives you a specific and unique perspective on the world that could be called political). Thus, any film is the product of one or many ways of viewing the world, and anybody with any opinion about the way the world works or looks has a view with political implications.
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